Here’s a bold statement: Emraan Hashmi thinks critics of films like Dhurandhar have a ‘crap mentality’—and he’s not holding back. Fresh off the success of The Bads of Bollywood* and gearing up for Netflix’s Taskaree: The Smuggler’s Web, Hashmi is making waves not just for his roles, but for his fiery defense of a film he openly admits he hasn’t even watched. **But here’s where it gets controversial: while speaking to India Today, Hashmi dismissed critics of Dhurandhar as having a ‘crap mentality,’ arguing that the industry should celebrate success instead of tearing it down. ‘If something is doing well, everyone should be happy,’ he said, pointing out that it boosts the industry and keeps the money flowing. He even praised the film’s marketing, marveling at how audiences flocked to its nearly three-and-a-half-hour runtime, including midnight and early-morning screenings. And this is the part most people miss: Hashmi called Dhurandhar ‘a great film’ without having seen it, leaning heavily on its box office dominance as proof of its greatness. His logic? If people are buying tickets, who are critics to complain? But is commercial success the ultimate measure of a film’s worth?
Dhurandhar is no ordinary blockbuster. While it’s shattered records in India—becoming the highest-grossing Hindi film domestically and cementing Ranveer Singh’s star power—its political and cultural impact is far more divisive. From the moment of its release, the film has been slammed for its ideological slant, with critics calling it thinly veiled propaganda masquerading as espionage cinema. Its portrayal of regional politics, nationalism, and history has sparked discomfort on both sides of the India-Pakistan border. Even Hrithik Roshan, known for his own patriotic blockbusters like Fighter, publicly distanced himself from Dhurandhar’s politics, a rare move in an industry that rarely questions a hit’s ideological underpinnings. Online, the debate rages on, with the film reportedly banned in the Middle East for its ‘anti-Pakistan messaging’ and facing backlash from the Baloch community for alleged hate speech. Is this the future of commercial cinema—sacrificing nuance for spectacle?
Hashmi’s defense feels less like a stand for artistic freedom and more like a reflexive Bollywood mantra: if it sells, don’t question it. And there’s an irony here: dismissing criticism as ‘crap mentality’ while admitting you haven’t even engaged with the work being debated. The real issue isn’t whether Dhurandhar is slick or marketable—it’s what it chooses to say, omit, and amplify. So, here’s the question for you: Does box office success absolve a film of its responsibility to handle complex political realities with care? Or is entertainment enough? Let’s hear your thoughts in the comments—agree or disagree, this is one debate that’s far from over.
